freeze frames blur in FCE 4 export

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kookooframe

Well-known member
I'm having a heck of a time trying to get freeze frames not to blur in my FCE 4 Quicktime Conversion export. It's as if they haven't been rendered, though I make sure to render them before saving project. Five times now I've tried different settings with Quicktime Conversion and it still happens. Does anyone have any suggestion as to how I can get these freeze frames not to blur? It seems to be some render issue, and I am ready to render till the cows come home. Just need to know where.
 
Yes -- do you think I should de-interlace the project before export? How would I do that? I checked once for a de-interlace tool in the project itself but couldn't find one. In Quicktime Conversion export I did check de-interlace but that didn't help the freeze frame blur. Is there a way to de-interlace before export?
 
Since Modify>Make Freeze Frame opens the still as a clip in the viewer, you can add the De-interlace filter then export your still.
 
Thanks, C2V. I will try the de-interlace filter. While I'm at it, any disadvantages to just applying the de-interlace filter to the whole project? And next time just shooting in 30P?
 
This has been discussed to death around here, so here's the condensed version, in terms of the DVX and FCP:

Shoot 60i for the traditional video look, and output to interlaced viewing targets (i.e. local broadcast). De-interlace this material before posting it to the web. Do not de-interlace if you're outputting to tape for broadcast.

Shoot 30P to avoid interlacing altogether in a traditional 29.97 project, and to maintain viewing pleasure across both interlaced and progressive monitors without leaving the 29.97 world. 30P should also be used wen shooting to match "Frame Movie Mode" in older Canon miniDV handy cams. I'm not a fan of 30P for every-day production. I use it sparingly, and mostly for slow-mo in 24p (23.98) projects.

Shoot 24p to get the "film" look in a 29.97 time line, though this can create artifacting on progressive monitors. It can also have the pull-down removed if you like, for working in a 23.98 project, though this is a pain in the FCP world (use Cinema Tools). There's really little reason to use 24p as it was created to give 24p look to 60i systems, and with a 24pA work flow it's kind of pointless.

Shoot 24pA to easily remove the pull-down and work in a 23.98 project. Internet video can handle the same frame rate, should you be exporting for Web distribution. DVD can also handle progressive material in 23.98 and will add the pull-down in as it plays to an interlaced monitor. The project can also have the pull-down added back in for output to tape should you be sending the program out for broadcast.
 
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Thanks for that pertinent info! Slightly different for me on the 24P question with a Canon A1 not a DVX, but otherwise gives me a good handle on the situation. In fact, I've got a shoot tonite that will be broadcast -- so...yes, 60i it is!
 
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